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Working hard on Autumn Forest Vol. 02

A large part of this library will be so-called "Destructibles". These sound assets are recorded to reflect impact noise onto destructible meshes or objects. I have been busy picking anything from small twigs to large twigs to get as many cracks, squeaks, bursts and squeaks as possible for natural wooden objects housed in their natural environment. To get as much flexibility as possible in the sound, I opted for a close-up of an MS shotgun microphone to capture as many "dry" signals and details as possible, and an ORTF within a few feet of the reverberation and decay of to detect loud transients.

 


I builded small natural pits to throw in stones, twigs, debris, and other materials to pick up impacts, breaks, and bump sounds. By building these recording pits with different materials, I was able to change the tonality and overall sound of the layers. This was especially helpful for getting the best results for specific performances.

 


Another important part was to record lots of different whoosh sounds using exclusively natural objects recorded in their natural environments. This was all about hearing the doppler motion effect (sound approaching from right to left or vice versa getting more intense in the middle position while also varying in pitch). I wanted to be able to hear the twigs and foliage ripping through the air. Again I went with my trusty MS and ORTF combo to be able to get mono compatibility as well as wide stereo and good imaging.


Next on my list was the recording of natural grasses and reeds rustling in the wind. Finding a good recording position is pretty hard, because windy environments are pretty loud and noisy in general. Therefore trying to catch the isolated grass rustling is quite a task.  

A good example for what is called "Spot-FX" in soundscape composition are all sounds related to flowing water. Everything from small waterfalls, rivers and creeks. Again this can be a pretty tedious task, because even the smaller creeks have many voices depending on the different positions. Its quite remarkable the variations in sound you can get from this.

 

Recording in a safe and acoustically controlled environment has may advantages. Then why go through the hassle of recording in the open field? For me it's about the authenticity of the recordings as well as the natural decay and acoustics. The thing that annoyed me on most of the foley sounds libraries available is the fact that I could hear the room acoustics, specially on transients. 

 

The shown materials are from left to right: Tree trunks, snow, mud, and dirt (These 4 materials are just a small example. I've recorded many more). The recordings include various motions that reflect the needs of most game developers, all recorded with the same boots. Thats why it is meant as surface material recordings to be combined with the respective shoe-recordings.

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